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Dr Kara Reilly

Senior Lecturer

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01392 722421

Dr Kara Reilly, Senior Lecturer, Drama

Kara Reilly is a theatre historian and dramaturg. She specialises critical disability studies/ mad studies, theatre & technology, adaptation studies, and gender/ queer theory.

She is currently working on a project examining representations of psychosis and mania onstage and screen and how these depictions reenforce or challenge stigma.

Her edited collection Contemporary Approaches to Adaptation in Theatre (2018) has seventeen case studies and explores a range of international adaptations in international Anglophone Drama.  

Her edited collection, Theatre, Performance and Analogue Technology (Basingstoke: Palgrave, 2013) examines a wide range of spectacular pre-digital technologies from sparring mechanical elephants to Proust's theatre phone, from cyborg ballet dancers to Pepper's ghost, from hair raising electrical experiments to automaton monks.

Her book Automata and Mimesis on the Stage of Theatre History (Basingstoke: Palgrave, 2011) focuses upon automata or self-moving mechanical puppets and their influence upon theatre history and intellectual history from the Renaissance to the end of the First World War.

She is the co-editor of Palgrave's Adaptation in Theatre and Performance book series. 

She is also a member of the AHRC Peer Review College and a fellow of the Higher Education Academy.

 

Monograph                                                                                                                     

Automata and Mimesis on the Stage of Theatre History (Basingstoke, Palgrave: 2011). ISBN 9780230232020 

Edited Collections              

Theatre, Performance and Analogue Technology: Historical Interfaces and Intermedialities (Basingstoke, Palgrave, 2013). ISBN 9781137319661

Contemporary Approaches to Adaptation (London: Palgrave, 2018). ISBN 9781137597823

Book Series                           

Co-Editor with Vicky Angelaki of the Book Series Adaptation in Theatre and Performance for Palgrave MacMillan.

Book Chapters/ Articles

The Epic Spectator Meets the War on the Coronavirus: Notes from the Ground from Exeter, England” in COVID Communication: Exploring Pandemic Discourse. Ed. John  Pollack London: Springer. Forthcoming 2023. 

“Samuel Pepys’s Traumatic Autopsia,” in Routledge Companion to Performance and Science Ed. Adele Senior. London: Routledge. Forthcoming 2023. 

“Karen Finley’s Hysterical Interrogation of the Electra Complex,” in Routledge Companion to the Body in Performance. London: Routledge. Forthcoming 2023.

“Re-membering the Lyric Theatre: Notes on a Phenomenology of Dyschronia,” The Drama Review. Forthcoming 2022. 

"Robots: From Rebellion to Domesticity,” Deep Time of the Theatre, Ed. Nele Wynants (London: Palgrave, 2019).

“Fanny Hill Onstage: TheatreState and April de Angelis’s Feminist Adaptations,” Contemporary Approaches to Adaptation, Ed. Kara Reilly (London: Palgrave, 2018).

“Yukio Mishima’s Hypermasculinity,” Vanguard Performance Beyond Left and Right, Ed. Kimberly Jannarone (Ann Arbor: University of Michigan Press, 2015).

 “Two Venuses: Performing Anatomical Beauty in the Service of Empire” Performance ResearchSpecial Issue on Medicine. Edited by Martin O’Brien and Gianna Bouchard. 19.4. 111-121. 2014. ISSN 1352-8165

“George Pierce Baker: A Century of Teaching Playwriting” Contemporary Theatre Review, Special Issue on the Pedagogy of Playwriting, (23.2) 2013.

“The Tiller Girls: Mass Ornament or Modern Girl?” Theatre, Performance and Analogue Technology, Ed. Kara Reilly (Basingstoke: Palgrave, 2013).

“The Rape of Lavinia: The Restoration Actress’s Body in Pain.” Staging Pain in Early Modern England. Ed. James Allard (Ashgate, 2009).

“Puppetry of the Spectacle: Royal de luxe’s Giants” Puppetry International Special Issue on Mega-Puppets. Fall 2007.

“Hélène Cixous’s Second Innocence” Feminism/os. Summer 2006.

“A Collage Reality (Re)Made: The Postmodern Dramaturgy of Charles L. Mee” American Drama. Summer 2005.

Dramaturgy (selected)

Over By Christmas, R& D for Playwright Karl Rogers, 2022 

Hedda 2.0, Dramaturgical Advice for Director Shelley Butler, 2017.

The Sleeper Jammy Voo, Research and Development, Director Ygnvild Aspeli, 2014

Pool Game by Liz Tomlin, Riverside Studios (UK tour), Dir Di Sherlock, 2012

Landfill by Liz Tomlin, Point Blank (Sheffield/ Birmingham), Dir Liz Tomlin, 2011

Agamemnon 2.0 by Charles L. Mee. University of Birmingham, Dir Shelley Butler, 2008 

Directing (selected)

Clouds 2020 incite from theatre company, Director, 2021.                   

Playhouse Creatures, University of Birmingham, 2012.

 Ghost Sonata, University of Birmingham, production and radio drama, 2009

 

 

Research interests

Kara Reilly is a theatre historian and dramaturg.

She is interested in intersections between science and technology in theatre and in cultural performance, critical disability studies, mad studies, and queer theory. She is also a dramaturg and a director and specialises in Adaptation Studies. 

 

 

Research through practice

Dramaturgy (selected)

Hedda 2.0, Dramaturgical Advice for Director Shelley Butler, 2017.

The Sleeper Jammy Voo, Research and Development, Director Ygnvild Aspeli, 2014

Pool Game by Liz Tomlin, Riverside Studios (UK tour), Dir Di Sherlock, 2012

Landfill by Liz Tomlin, Point Blank (Sheffield/ Birmingham), Dir Liz Tomlin, 2011

Agamemnon 2.0 by Charles L. Mee. University of Birmingham, Dir Shelley Butler, 2008 

Directing (selected)

Clouds 2020 incite from theatre company, Director, 2020.                   

Playhouse Creatures, University of Birmingham, 2012.

 Ghost Sonata, University of Birmingham, production and radio drama, 2009

 

Modules taught

Biography

Kara is a Senior Lecturer in Drama. Before coming to Exeter, she worked as a Lecturer at the University of Birmingham in the Department of Drama and Theatre Arts. Kara holds a PhD from University of Washington in  Theatre History and Dramatic Literature, a Master's Degree from New York University's Performance Studies Department, and a Bachelor's degree from Kent State University (magna cum laude).

Before working academia, Kara was a freelance professional dramaturg in Cleveland (Cleveland Playhouse, Great Lakes Theatre Festival), New York (La Mama), Seattle (Freehold Studio Theatre).